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ARTS & CRAFTS SILVER BOWL - GEORGE LAWRENCE CONNELL a hand beaten bowl with a gilded interior, handles on each side and hoof style feet. With a raised inscription around the centre of the bowl, Regina ER, ER 1601, ER Elizabeth, Dei Gracia Angliae, Frangiae, Et Hiberniae. Marked for Birmingham, 1912, GLC mark. 6 1/2ins (16.5cms) diameter (handle to handle), 2 3/4ins (7cms) high *This appears to be a reference to Elizabeth I and her Golden Speech in 1601, in which she revealed this would be her final Parliament and used it to address her love and respect for her Country, her position and the members themselves.
AN EMERALD AND RUBY BROOCH the foliate openwork silver gilt mount is set with emeralds and rubies, 6cm. wide, together with a chrysoprase and diamond pear-shaped brooch and a Georgian brooch, mounted with green stones of oval and pear-shapes, possibly chrysoprase, in gold closed back settings, 4.5cm. wide.
A VICTORIAN DIAMOND STAR BROOCH PENDANT set overall with graduated old brilliant-cut diamonds in silver and backed in gold, 4.5cm. dia. In fitted box by P.Orr & Sons, Madras & Rangoon, which also contains a fitting so that the brooch can by worn as a hair ornament.
A SWISS SILVER OPEN FACED CENTRE SECONDS CHRONOGRAPH POCKET WATCH white enamel dial, with engine turned and cartouche decoration to the back case, 45mm. dia., together with a silver open faced pocket, the dial with foliate and coloured enamel decoration, and another silver open faced pocket watch, a silver watch chain and a metal watch chain.
A 20TH CENTURY SILVER GILT MATCH CASE BY GERALD BENNEY with textured body, with maker's mark for Gerald Benney and hallmarked for London 1975, 5.5 x 4cm. With green leather case for Gerald Benney, 36 Bear Lane, London S.E.1. This and the following lot illustrate what became known in the trade as 'Benney Bark Finish'. This technique he discovered by accident when using a hammer with a damaged head while hand raising the bowl of a cup which imposed this pattern on the silver.
A QUANTITY OF ASSORTED JEWELLERY including a moonstone and opal bracelet, two pairs of amber drop earrings, a marcasite and black onyx brooch, a silver gilt hinged bangle, an enamel and silver cockerel brooch, two silver bangles, a silver, black onyx and freshwater pearl necklace and matching earrings, and various other items.
A QUANTITY OF JEWELLERY including a Victorian shell cameo brooch, a coral and marcasite ring, a turquoise and diamond ring, set in gold, a gold stick pin set with a small diamond and a green stone, possibly chrysoprase, an agate and silver seal, and various other items.
ART NOUVEAU SILVER DRESSING TABLE SET comprising a tray, mirror, brush and shoe horn, each piece designed with Birds and foliage in the Art Nouveau style. Each item with a registration number, 41211. Tray marked for Birmingham, 1908, the other items marked for Chester and Birmingham (different dates), all made by the maker W.N (possibly William Naul. Tray 11 3/4ins (30cms) across. (4)
A DIAMOND AND GOLD RING BY GERALD BENNEY the 18ct. gold mount with engraved swirl decoration and set with six circular-cut diamonds, 10.6 grams. Size M. With green leather box by Gerald Benney Adrian Gerald Sallis Benney (1930-2008) Gerald Benney was one of the most influential and outstanding British goldsmiths of the 20th century and the first British craftsman to hold four Royal Warrants simultaneously, during a career spanning more than fifty years. Born in Hull, East Yorkshire, his father was Principal of Brighton College of Art, which Gerald attended from 1946-48, and his mother was a gifted silversmith. He went on to study at the Royal College of Art where he met the designers and silversmiths David Mellor and Robert Welch. Influenced by modern Scandinavian design, together they went on to revolutionise Post-war silver design. He established his first workshop at Suffolk House, Whitfield Place, off the Tottenham Court Road in London. In 1968 in Zurich he met the enameller Berger Bergensen, who worked for the house of Burch Korrodi and had also worked for Karl Faberge's great rival Bolin. Benney, wanting to develop the use of enamel to further embellish his silver objects and designs, persuaded Bergensen to come to England to train his workshop in the art of enamelling. His studio went on to be one of the world's foremost modern enamellers. In 1969 he moved his London studio to Falcon Wharf, Bankside and later to Bear Lane, Southwark. In 1971 he was awarded Royal Designer for Industry and from 1974-1983 he was Professor of Silversmithing and Jewellery at the Royal College of Art. In 1973 The Goldsmiths' Hall held a major retrospective of his work. In 1993 he opened a shop at 73 Walton Street, in Knightsbridge together with his son Simon, now also an accomplished goldsmith and who continues to run the family business today. He was appointed C.B.E. in 1995.
LARGE WEDGWOOD LUSTRE CHARGER - LOUISE POWELL a pottery charger of large proportions, painted in the centre and with floral sprigs in a border around the rim. With a silver lustre glaze, some damages and repairs. Painted marks, monogram for Louise Powell, 2484, and impressed mark for Wedgwood. 21 3/4ins (55cms) diameter
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2466194 item(s)/page